CENSORED 09 - It's About Time!

Drawing on a range of sources, including the fiction of Toni Morrison and Luisa Valenzuela (He Who Searches), Avery Gordon demonstrates that past or haunting social forces control present life in different and more complicated ways than most social analysts presume. Written with a power to match its subject, Ghostly Matters has advanced the way we look at the complex intersections of race, gender, and class as they traverse our lives in sharp relief and shadowy manifestations.

“Ghostly Matters immediately establishes Avery Gordon as a leader among her generation of social and cultural theorists in all fields. The sheer beauty of her language enhances an intellectual brilliance so daunting that some readers will mark the day they first read this book. One must go back many more years than most of us can remember to find a more important book.” —Charles Lemert

'My aim for Mother Reader has been to bring together examples of the best writing on motherhood of the last sixty years, writing that tells firsthand of the mother's experience.

Many of the writings in Mother Reader comment on and interpolate one another, in citations, in footnotes, in direct homage. As I was assembling this collection one text would lead to one another, treasure-hunt fashion, the clue provided by an acknowledgement or bibliography. And just as often the writing circles back.

In Mother Reader chapters are excerpted from autobiographies, memoirs, and novels; entries are lifted from diaries; essays and stories are culled from collections, anthologies, and periodicals. My project has been to assemble a compendium or sampler of these ''kindred spirit'' works on motherhood, so that readers, and especially mothers with limited time on their hands, can access in one volume the best literature on the subject and know where turn to continue reading." [Moyra Davey in the introduction]

Writings by Margaret Atwood, Susan Bee, Rosellen Brown, Myrel Chernick, Lydia Davis, Buchi Emeta, Annie Ernaux, Mary Gaitskill, Susan Griffin, Nancy Hutson, Mary Kelly, Jane Lazarre, Ursula K. Le Guin, Doris Lessing, Ellen McMahon, Margaret Mead, Vivian Montgomery, Toni Morrison, Tillie Olsen, Alicia Ostrker, Grace Paley, Sylvia Plath, Adrienne Rich, Sara Ruddick, Lynda Schor, Mira Schor, Dena Schottenkirk, Mona Simpson, Elizabeth Smart, Joan Snyder, Elke Solomon, Susan Rubin Suleiman, Alice Walker, Joy Williams, Martha Wilson, Barbara Zucker.

Staring unflinchingly into the abyss of slavery, this spellbinding novel transforms history into a story as powerful as Exodus and as intimate as a lullaby. 

Sethe, its protagonist, was born a slave and escaped to Ohio, but eighteen years later she is still not free. She has too many memories of Sweet Home, the beautiful farm where so many hideous things happened. And Sethe's new home is haunted by the ghost of her baby, who died nameless and whose tombstone is engraved with a single word: Beloved. Filled with bitter poetry and suspense as taut as a rope, Beloved is a towering achievement by Nobel Prize laureate Toni Morrison.

Born in Korea, raised in the American South, and trying her best to survive British academia, SJ Kim probes her experiences as a writer, scholar, and daughter to confront the silences she finds in the world. With curiosity and sensitivity, she writes letters to the institutions that simultaneously support and fail her, intimate accounts of immigration, and interrogations of rising anti-Black and anti-Asian racism. She considers the silences between generations―especially within the Asian diaspora in the West―as she finds her way back to her own family during the pandemic lockdown. Embracing the possibilities and impossibilities of language, Kim rejoices in the similes of Korean, her mother tongue, and draws inspiration from K-dramas and writers who sustain her, including Yusef Komunyakaa, Don Mee Choi, Toni Morrison, and Theresa Hak Kyung Cha.

Longlisted for the 2025 Andrew Carnegie Medal for Excellence in Nonfiction.

The sequel to Pendleton's acclaimed Black Dada Reader, compiling an anti-canon of radical experimentation and thought.

In 2011, artist Adam Pendleton (born 1984) assembled Black Dada Reader, a compendium of texts, documents and positions that elucidated a practice and ethos of Black Dada. Resembling a school course reader, the book was a spiral-bound series of photocopies and collages, originally intended only for personal reference, and eventually distributed informally to friends and colleagues. The contents - an unlikely mix of Hugo Ball, W.E.B. Du Bois, Adrian Piper, Gertrude Stein, Sun Ra, Stokely Carmichael, Gilles Deleuze -formed a kind of experimental canon, realized through what Pendleton calls radical juxtaposition. In 2017, Koenig Books published the Reader in a hardcover edition, with newly commissioned essays and additional writings by the artist. A decade later, Pendleton has composed another reader, building upon the constellation of writers, artists, filmmakers, philosophers and critics that emerged in the first volume.

Source texts by Sara Ahmed, Mikhail Bakhtin, Toni Cade Bambara, Amiri Baraka, Augusto de Campos, Hardoldo de Campos, and Décio Pignatari, Angela Davis, Gilles Deleuze, Julius Eastman, Adrienne Edwards, Clarice Lispector, Achille Mbembe, Philippe-Alain Michaud, Charles Mingus, Piet Mondrian, Leslie Scalapino, Leonard Schwartz and Michael Hardt, Juliana Spahr, Cecil Taylor and Malcolm X.

Superior and Inferior presents a facsimile reprint of Italian abstract artist and feminist Carla Accardi's provocatory publication Superiore e Inferiore and the first ever English translation of the full text.

"In this book, I have bought together the transcripts of dialogues I recorded on tape in three girls' classes from the first, second and third year of a state middle school. For having proposed this unauthorised activity, I was dismissed from teaching in the light of a formal complaint". – Carla Accardi introducing her book Superiore e Inferiore, 1972.

First published in 1972 by Carla Accardi, the book Superiore e Inferiore features discussions among girls at a middle school—all between 10 and 13—about society's discriminatory behaviour towards women. They also commented the Manifesto of the revolutionary feminist group Rivolta Femminile—collectively written by Accardi, art critic and feminist activist Carla Lonzi, and Elvira Banotti—which first appeared posted on city walls in Rome in July 1970. For having discussed sex-related issues with pupils, Accardi was fired and permanently suspended from teaching. (Her letter of dismissal issued by the Italian Ministry of Education forms part of the introduction to the book.) Along the lines of Pasolini's Comizi d'Amore (Love Meetings), Accardi's own voice is secondary in the book, giving way to the thoughts, narratives, opinions, and debates expressed among girls on the role of women and girls, family conflicts and intimate relations.

Carla Accardi (1924–2014) was an Italian abstract painter associated with the Arte Informale and Arte Povera movements, and a founding member of the Italian art groups Forma (1947) and Continuità (1961). She experimented with different forms of art, such as black and white painting and Sicofoil. During the late 1970s, she became part of the feminist movement with critic Carla Lonzi. Together, they founded Rivolta femminile in 1970, one of Italy's first feminist groups. Accardi's first solo exhibition in the United States was in 2001 at MoMA PS1.

Andrew Berardini on Artificial Intelligence; Pepón Osorio; Arash Nassiri; Gloria E. Anzaldúa; Marcela Guerrero speaks with C. Ondine Chavoya; Daisy Lafarge; Dani Blanga Gubbay; Davide Stucchi speaks with Alex Bennett; Luca Lo Pinto on Hanuman Editions; Reynaldo Rivera & Abdellah Taïa; Jungle Books...

This issue comes with different covers, randomly distributed.

We begin with the image of an idea in ruin. A small field of assumptions disassembled. A question no longer in need of its mark. A thought not sure where it began. It starts from the body and language. The debris of these three words, crumbling already at and, did not break apart but congealed the separations once made. We start from a research (project) undone and just beginning. 

Typesetting and design: Will Holder
Produced by: A.pass

Chloe Chignell works across choreography and publication taking the body as the central problem, question and location of the research. She invests in writing as a body building practice, examining the ways in which language makes us up.

Many bulbous plants have been dubbed ‘heralds of spring’, but none is more deserving of the title than those carrying actual megaphones to spread the word – daffodils. To know a daffodil is to love a daffodil. Come join our cult.

Including:
I Like the Daffodils – An introduction by Lou-Lou van Staaveren to the genus Narcissus, with amazing photographs by Elspeth Diederix from her garden.
Dafs in Art History – Painters, poets and writers all over the world, have been inspired by the daffodils’ dual aura of macabre and threatening elegance.
The Daffodil Society – The members of The Daffodil Society in the UK promote the genus Narcissus for everyone’s greater pleasure. Photographer Luke Stephenson followed them to various shows where their flowers are reviewed.
How to follow your nose – Philosopher Christopher F. Julien invites us into his fragrant garden where scent mixes with memories with drawings by Pom Koolen.
Artist Tina Farifteh digs into her personal archive and writes a beautiful account of her memories growing up in Iran, and how daffodils have become a staple for New Year’s celebrations and a symbol of hope.

Cover and inside cover by Lou Buche
Centrefold miniatures by Jesse Fischer

published commonly, no no no expounds an experimental poetic offering, both text & art.

each issue features a limited edition artwork. which can be tacked or framed or stored in a drawer.

celestial in nature, no no no takes the form required, and necessary.